© Photographies, DANIEL GARCÍA ANDÚJAR, 2013.
© Video, Ministerio de Educación, Cultura y Deporte, 2013.
El artista multimedia y teórico del arte García Andújar impartió la conferencia “Estructuras de la imagen, hurgando el código” en el IED Madrid, dentro del Observatorio Cultural, un espacio creado por el Master of European Design Labs para examinar las derivas contemporáneas del mundo de la creación.
García Andújar (Almoradí, 1966) centra su trabajo en los campos del videoarte y el net.art, siendo uno de los creadores más críticos e irónicos del panorama artístico actual. Sus piezas son una invitación a reflexionar sobre el uso actual de los medios tecnológicos y de comunicación para desmontar el sistema de jerarquía dominante en éstos mediante la libre circulación de información, redes de cooperación y nuevos conceptos como el hacktivismo.
Daniel García Andújar (Almoradí, 1966) is a visual media artist, activist and art theorist from Spain that lives and work in Barcelona. Andújar began his artistic activity in the late eighties, working mainly in the field of video, in projects of intervention in public spheres on the topics of racism and xenophobia, as well as the misuse of technology in surveillance systems. An artist who uses irony and presentation strategies that employ informational and communication technologies to question the democratic and equalitarian promises of these media and criticize the desire for control lying behind their apparent transparency. Most of his art projects are based on collaborative research that explores different political, historical, social and cultural phenomena and their media representations in a critical way: body politics, corruption, censorship, xenophobia, urban developments, the cultural industries, the inclusion and exclusion of technologies, the use of public space, etcetera. He created a fiction (Technologies To The People, 1996). It was originally presented as a virtual company dedicated to bringing technological advances closer to the least privileged, a sort of vague corporation that reproduced dissuasive language, the identity tics and visual archetypes associated with the commercial companies in the digital environment. A long-time member of irational.org (international reference point for art on the web), He have tried to encourage different collectives projects on the Internet such as art-net-dortmund, e-barcelona.org, e-valencia.org, e-seoul.org, e-sevilla.org, e-stuttgart.org, postcapital.org, e- madrid.org, etc. He has taught and directed numerous workshops for artists and social collectives in different countries.
Nonetheless and in hindsight, it could be said that Daniel G. Andújar / Technologies To The People has developed four more or less distinct courses of action throughout its life span: one, shaped around the launch of various products with which the corporation meddles in the market, ridicules the productive capacity of the company itself and styles strategies for connecting and empathising with the hypothetical users. Among the most prominent projects in this sphere would be the Street Access Machine (1996), a machine allowing those begging in the street to access digital money; The Body Research Machine (1998), an interactive machine that scanned the body’s DNA strands, processing them for scientific experiments, and x-devian by knoppix, an open-source operating system presented as part of the Individual Citizen Republic Project: The System (2003) project. Another course the work takes would be the critical reflection on the art world TTTP presents through the Technologies to the People Foundation with its collections distributed free of charge—Photo Collection (1997), Video Collection (1998) and Net Art Classics Collection (1999)—already calling the idea of material and intellectual property into question during this period. A third conceptual area would be constituted by the creation of the so-called e- pages (e-arco.org, e-manifesta.org, e-seoul.org, e-valencia.org, e-barcelona.org, e-sevilla.org, e-norte.org and e-madrid.org among others), which have become true platforms for citizen reflection linked to a specific cultural environment and a very concrete set of problems. Also to be highlighted from among TTTP’s activities is the construction of the vast Postcapital Archive.
“Postcapital” revolves around the far-reaching changes having evolved worldwide in social, political, economic, and cultural realms over the last two decades, their watershed moments emblematized in the 1989 fall of the Berlin Wall and the attacks on September 11, 2001. Here, Andújar views the developments subsequent to the “fall of the Wall” not as aspects of postcommunism but rather of postcapitalism. Emerging here is the question as to what extent capitalist societies have changed in absence of their erstwhile counterparts and which new walls have been erected through the global politics following events of 1989 and 2001. Chronology
The expansive setting is framed by a voluminous frieze of images delineating a subjective chronology of events having taken place between 1989 and 2001. The first and last images are derived from an advertising campaign in a South African daily newspaper operating with the slogan “The world can change in a day.” One motif shows the Berlin Wall on November 8, 1989 and the other the square at New York’s World Trade Center on September 10, 2001.
Bòlit_Centre d’art contemporani Girona
La Comunitat inconfessable
presenta l’exposició “La Comunitat inconfessable”
comissariada per valentín Roma i amb la participació de:
Daniel G.Andújar (Technologies to the People),
Joan Vila-Puig i Elvira Pujol (Sitesize) i
Pedro G. Romero (Archivo F.X.).